Showing posts with label vibrant matter. Show all posts
Showing posts with label vibrant matter. Show all posts

Thursday, 9 April 2026

Making Affective Aesthetics~Vibrant Matter~Politics of Difference.

Foraging~Making : The Continuous Weather World.

Phronesis : Concerning entanglements of matter(s) of being, knowing and doing.

Making : Anthropology~Archaeology~Art~Architecture. Tim Ingold.


Industrial ceramics, kiln components and structural interiorities.

https://www.curatorspace.com/artists/russellmoreton











Tim Ingold.

Making creates knowledge, builds environments and transforms lives. Anthropology, archaeology, art and architecture are all ways of making, and all are dedicated to exploring the conditions and potentials of human life. In this exciting book, Tim Ingold ties the four disciplines together in a way that has never been attempted before. In a radical departure from conventional studies that treat art and architecture as compendia of objects for analysis, Ingold proposes an anthropology and archaeology not of but with art and architecture. He advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or ‘correspond’, with one another in the generation of form.

Making offers a series of profound reflections on what it means to create things, on materials and form, the meaning of design, landscape perception, animate life, personal knowledge and the work of the hand. It draws on examples and experiments ranging from prehistoric stone tool-making to the building of medieval cathedrals, from round mounds to monuments, from flying kites to winding string, from drawing to writing. The book will appeal to students and practitioners alike, with interests in social and cultural anthropology, archaeology, architecture, art and design, visual studies and material culture.

Sunday, 16 November 2025

MAKING as a process of translation in the process of spatial iterations : An expanded field of exploratory inquiry.

Making Ecological Politics

A world teeming with impulsive movements, deviations and many other lively (capacious) materialities.

Influences that pervade, enable, and disrupt us.

Vibrant Matter, Jane Bennett


https://www.flickr.com/photos/russellmoreton/









Makers work in a world that does not stand still

Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations

Tim Ingold 2010

Making speaks in vivid dialogue with two associated themes, material and skill

Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve

Making becomes a process of iteration, and a maker works with this iteration prolifically Geographies of Making

ReThinking Materials and Skills for Volatile Futures

The skill to sustain the life of something through repair and reappropriation

Collecting is an example or a pre-emptive activity that people who are skilled with their hands commonly share

Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force

Vibrant Matter, A Political Ecology of Things Jane Bennett 2010

Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds

Tim Ingold 2010

New Urban Adventures in Collaboration/Conceptual Ceramics

Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay

The transformation of the material is a central concern and semiotic significance unfolds with making Seeking a symbiotic relationship between idea and object

Materials are substances in becoming Karen Barad


Towards an Ecology of Materials Tim Ingold 2012









From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis.

Materials-Centered : Perspective Making, almost defies precise definition.

The composition and/or manipulation of materials that bring into being new or revised objects. Tim Ingold.

Cultures of thrift and scavenging, maintenance and repair.

Making encompasses the ingenuity of fluid, locally situated and adapted technologies.

Friday, 20 May 2022

Discursive Drawing, Documents/Architectures of Entanglements : Enchantment/Somantic Affects/Assemblage and Texts

The dynamic, and hence temporal, nature of space means that spatial production must be understood as part of an evolving sequence, with no fixed start or finish, and that multiple actors contribute at various stages. Spatial Agency, Jeremy Till.







Exploratory, Textual Entanglements, Perceptual Relationships.





DSC_8759 Discursive Documents : Enchantment/Somantic Affects, Jane Bennett Assemblage : Aesthetic Convergence Cultivation Field/Vibrant Matter Becoming complicit with materials Realist Magic, Objects, Ontology, Causality. Timothy Morton. 2013 Matter and Desire, an erotic ecology. Andreas Weber. 2017 Vibrant Matter, a political ecology of things. Jane Bennett. 2010 Therese Oulton Paintings and new digital prints Lines of Flight. 2006 Being Alive Essays on Movement, Knowledge and Description Tim Ingold. 2011 MAKING vibrant gaps/assemblages between the texts/images/objects and everyday things LANDSCAPES OF AFFECTIVE AESTHETIC ATTRACTION MATERIALS THEMSELVES become the TOOLS of PERCEPTION Enchantment from the potential of things. The Fabric of thoughts The invisible within the visible (energy,magic,causality) RELATEDNESS, connected to the Place and Function of Things within a Field. Texts, form their own contexts/reflexivity, breaking down phenomena into meaning, conclusions and critique, they render phenomena and its psychic information redundant. We think we know how we should feel sociologically, yet in doing so we deny ourselves the direct affectiveness of people and objects that can provide different perceptual relationships. EMBODIED KNOWLEDGE=ECOLOGY Lygia Clark : A Space open to time. Cornelia H. Butler The World is a Collage Collage and montage are quintessential techniques in modern and contemporary art and filmmaking. Collage combines pictorial motifs and fragments from disconnected origins into a new synthetic entity which casts new roles and meanings to the parts. It suggests new narratives, dialogues, juxtapositions and temporal durations. Its elements lead double-lives; the collaged ingredients are suspended between their originary essences and the new roles assigned to them by the poetic ensemble. Juhani Pallasmaa Hapticity and Time Notes on a fragile Architecture The Perception of the Environment Essay in Livelihood, dwelling and skill Tim Ingold See Yourself Sensing Redefining Human Perception Madeline Schwartzman STILLNESS IN A MOBILE WORLD Bissell, Fuller


Spatial Agency : Lefebvre's redefinition of space

Its production is a shared enterprise.

Social space is dynamic space; its production continues over time and is not fixed to a single moment of completion. This dynamic inevitably shifts the focus of spatial attention away from the static objects of display that constitute the foreground of so much architectural production, and moves it onto the continuous cycle of spatial production, and to all the people and processes that go into it.

Social space is intractably political space, in so much as people live out their lives in this space, and so one has to be continuously alert to the effects of that space on those lives. 

Spatial Agency, Other ways of Doing Architecture, Jeremy Till

Monday, 13 September 2021

Relationscapes/Material Flows : infra Body, Personal Relations and Spatial Agency

Slow Philosophy
Reading against the institution

Troubleyn Laboratorium
Jan Fabre

Every colour has its own perspective.
Jenny Saville

Material flows and currents of sensory awareness in which images and objects reciprocally take shape.
Tim Ingold

The Dynamic Real
Vibrant Matter
Jane Bennett

infra
Max Richter
Wayne McGregor
Julian Opie

Vitality
Difference
New Materialisms
Elizabeth Grosz

Diffraction attends to specific material entanglements, a discursive phenomenon that makes the effects of different differences evident.
Performativity, subject and image do not pre-exist as such, but merge through intra-actions. 
Karen Barad

Collage, Superimposition, Bounded and Un-Bounded 



















Space and Place
THE PERSPECTIVE OF EXPERIENCE
Yi-Fu Tuan

1959 : Patti Smith
Peace and Noise

Lingering at the threshold between word and image
Cy Twombly
Claire Daigle

https://www.tate.org.uk/context-comment/articles/lingering-threshold-between-word-and-image

Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration.

Certainly, the fortuities of a name are being pushed too far here, but what does Twombly do but offer up words in all of their resonance: literal, metaphoric, corporeal, material? His citations often have the vanitas effect of graffiti: ‘Cy was here’. Lingering at the threshold between word and image, Twombly renders visible those things – experience, emotion, the body’s share – that lie beyond the reach of verbal articulation.

Existential Gestures : Looking away from the sea

Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modern type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times